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Magical Burst 2013

May 18, 2013

Needing to step away from Beyond Otaku Dreams, I ended up getting back into Magical Burst. (Also, making some notes for the alternate settings for Golden Sky Stories.) Getting away from Magical Burst (I was last seriously trying to work on it in October of last year) was apparently the right thing to do, because I feel like I’m coming at it with fresh eyes, and making some important changes that feel just plain refreshing.

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One thing that’s been on my mind lately, something that I think not very many people would be in a position to notice, is how different designing and translating games are. As a translator I get very intimate with the actual text of the game. While I don’t remember every word of Golden Sky Stories, I’m exceedingly familiar with the contours of the text, with what goes in what sections. In contrast, when I have my game designer hat on I have an image of the rules in my head, and it’s a struggle to update the text to fit that image as it changes over time. Last month I had a bunch of ideas for Magical Burst (while I was at an anime convention as it happened), and coming back to the actual text is weird because the game in my head has changed so much from what’s in the Word doc. It feels weird that I come across references to relationships taking Strain when in my head I have the much more straightforward system of them having levels that can be gained or lost.[1]

The single biggest thing is that I’m significantly reworking certain key aspects of combat. I decided to implement a “Battlefield” system inspired by Nechronica and Meikyuu Kingdom, basically because it’s something I really, really like. I was never quite happy with the combat system in Magical Burst before, and this gives me a place to implement one of my favorite new game mechanics to come along in a while. I had been thinking of trying an Engagement system like in Arianrhod and 13th Age, but I find the Battlefield map approach far more interesting, and easier and more fun to hang mechanics off of. (It’ll also be a bit of a trial run for implementing a similar system in Slime Quest, which is going to be an altogether more involved project.) I’ve talked about it at great length before, but the core concept is that combat takes place on a semi-abstract map with a small number of positions/areas arranged in a line, and stuff like range and movement is in terms of this set of positions. This provides a potentially fun element of tactical combat while vastly reducing the overhead of having map-based combat at the table.[2]

I also decided to make Magical Attribute assignments semi-permanent. I never really liked the concept of swapping them around on the fly, and it was really an attempt to solve a problem (how to go about tying Heart, Fury, and Magic stats to something meaningful) rather than something I like on its own merits. I’m changing it so that you can rearrange them only when you take certain advancement options. This in turn reverberated through a bunch of other elements of the system, so that it was no longer necessary to have the rule that no two Magical Attributes could have the same value, and didn’t make sense to have relationships follow those types. (And the concept of Fury relationships was throwing people off anyway.)

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That’s in addition to the other stuff I was talking about previously with specializations (which give characters more special abilities to emphasize Attack, Defense, or Support), and making Magical Effects into Magical Talents, of which there are a lot more available. One of the things I really like about Magical Burst overall is that it puts my diverse RPG inspirations on full display all at once. It’s traditional, hippie, and Japanese all at once, combining elements of games like D&D, Don’t Rest Your Head, Nechronica, Smallville, and Apocalypse World. The tactical combat aspect might seem a weird approach to the game, but it’s making me a lot more excited to play it.

At this point I’m thinking I’d like to make it a goal to finally publish Magical Burst in about a year or so, though of course I don’t expect life to be so straightforward. The part about how I want the tie-in novel to be ready is going to be a big deal, since that thing is still a first draft and needs a ton of work. On the other hand a new draft of the rules shouldn’t be *too* far off, and I intend to keep a free version available regardless.


[1]The main inspiration for this was the fan-made “Magical Burst ReWrite,” which I’m trying to borrow ideas from (there are several that are too good to pass up!) without plagiarizing.

[2]One of the issues with the 3rd and 4th Editions of D&D is that while doing stuff with a grid can be a lot of fun, you have to put a lot of effort into what is normally a single-use set piece to make it that way. A Battlefield map is both totally reusable and relatively easy to customize (just attach special effects to certain positions).

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Beyond Otaku Dreams Alpha

May 11, 2013

I finished up a first draft of Beyond Otaku Dreams, and just has a rather messy, abortive playtest.[1] Right now I’m kind of lost as to what to do with it, so I’m tossing it on the internet to see what people make of it.

Beyond Otaku Dreams Alpha 001 PDF

The core game is definitely a branch of the Fiasco family tree. I’m really liking the idea of RPGs whose rules don’t particularly concern themselves with success and failure, because it seems to open up a huge number of types of genres and stories that wouldn’t work nearly as well in a traditional RPG (as evidenced by games like Fiasco, GxB/BxB, Hot Guys Making Out, etc.). I especially like the idea of handling an epic “final battle” that way, though I didn’t get as far as trying those rules out in the playtest. I think the big issue with the game right now is that it leaves a bit too much blank canvas for players to fill it, but I’m not sure how to go about fixing that.


[1]We were a bit tired and hot and in mixed moods, so I don’t know how much was problems with the game and how much was from other stuff.

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More on Beyond Otaku Dreams

April 28, 2013

I have a ton of different things I need to work on, including getting more done with the Golden Sky Stories Kickstarter (though at this point a lot of that is waiting for people to get back to me), making progress on Magical Burst, and I’ll stop there because I could easily do a whole post just on neglected projects. One that’s been on my mind a lot lately, that keeps popping up in my thoughts even when I don’t intend it to, is Beyond Otaku Dreams. I talked a bit about the idea in a previous post, but recent experiences have helped me solidify the concept a bit more, and really zero in on the heart of what I want it to be about.

For a long time I’ve wanted to make something about anime fans who see into another reality, a “dream layer” superimposed on the world, where they interact with beloved characters and fight spectacular battles while the rest of the world assumes they must be insane. I had a lot of ideas for a novel, and later for an RPG, but neither ever quite came together. Then last year I went to FanimeCon, and I saw the most amazing scene. The Jesus freaks with signs were protesting the terrible circumstance of people having fun, and a bunch of fans were counter-protesting and generally jeering the shouty Christian guys. One guy was playing Final Fantasy music on a saxophone. And while all that was going on, there was an ambulance, and they were loading a girl in full costume, in a powder blue wig, on a stretcher. My FanimeCon 2012 story was mainly about how I bought some stuff in the dealers room, hung out with my friends Jono and Sushu, and wound up playing Jenga with some random people in the gaming area. Someone else’s story was about how a friend who’d worked very hard on a costume had left the con in an ambulance. It reminded me of all the things I’ve seen at cons over the years, covering every hue in the spectrum of human emotions. I’ve seen raucous joy, but also deep anguish, paralyzing shame, perfect religious serenity, and a million other things. Anime fandom has its good and bad points, but it is above all very human. I realized that my game needed to be about that above all else.

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More recently I went to Anime Conji, a small anime con in San Diego. It was kind of a shock to be so suddenly and thoroughly immersed in the anime con culture, and it reminded me of the sheer intensity of the experience. I can’t speak with authority on how anime fans behave in real life (I remember how my friends and I were in high school…), but it always feels like people are letting out things they have to keep in most of the time. There’s also a sort of ritualistic aspect of anime cons, and people create new patterns of group behavior that you don’t really see anywhere else. One really striking example is that if someone is wearing a costume, it’s apparently perfectly acceptable to just sort of yell the name of the character at them. Chatting with my friend Guy Shalev about the ritual nature of anime fandom made me realize how important, how immediate the convention experience could be. I realized that I should frame my game around characters going to a convention. The sheer intensity, the amplitude of hope, the collision of reality and delusion, make it the perfect setting for stories about both the humanity of anime fans and about the line between dreams and reality getting blurry.

(The other thing at Anime Conji was that I saw a panel put on by Chocolate Covered Cosplay about taking your fandom passions and making a living off of them. It would not have occurred to me that cosplay could also lead to a career in modeling–cosplay isn’t something I’ve ever been seriously involved with–but they’re apparently way ahead of me when it comes to being anime fans boldly realizing their potential.)

Narratives about and discussions of anime fandom tend to be either highly idealized or treat fans as human garbage. There are academic articles that go on about how amazing and post-modern otaku are, and blog posts griping about how obnoxious they are. Beyond Otaku Dreams is in part me planting a flag in the neglected middle ground, the place where anime fans are human beings with both problems and potential. It’s become a rather personal work (insofar as an RPG can be personal), based much more on my own experiences than references to works of fiction. I have a hard time thinking of many RPGs that quite have that kind of origin (maybe some Jeepform or Norwegian Style games?). I don’t think that makes it better, but it definitely makes it that much more something I want to bring to fruition. It also means that there’s almost zero inspirational material to look at (Akibaranger and Dramacon are probably the closest), which is liberating in a way.

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The game that’s just starting to form in my head has some bits of Don’t Rest Your Head, Fiasco, and Polaris (plus a tiny bit of Maid RPG and a few other things). It’s definitely leaning towards the GM-less shared storytelling activity side of things. Like Fiasco it’ll be aimed more at one-shots, but since the characters will tend to survive and become better people, it’ll lend itself to doing “sequel” sessions where you revisit them at the con the following year (or maybe have them going to an even bigger con, or even an event in Japan), learning what new challenges they’re facing. It’s not going to be a game with a lot of numbers–I’m thinking the main thing will be a dynamic of Hope, Trauma, and Delusion[1]–and the more important part of character creation will be a series of DRYH-like questions, including things like “What is your obsession?” and “What do you hate about yourself?” The game would play out in a series of acts and scenes. Acts get random events from tables to shake things up, and scenes will involve stuff based on a character’s answers to the questions. Over the course of the game the situation with dreams intruding into waking hours explodes and climaxes, and then each character gets an epilogue partly based on their numerical scores. Or something like that.

One thing I’ve decided about the end product is that I want the visuals in the book to be mostly or entirely actual photos of cosplayers and convention stuff (kinda like what I put in this post but, you know, all-around better). I love artwork, and I love working with artists, but a lot of the most important parts of this game are about reality, and I want to reflect that visually. I know there are some stock photos I can use–there are a good number of cosplay photos available that way–but it’ll be interesting figuring out how to do the rest, to capture the feel of Artists Alley and a the masquerade and such. The decision to use photos may in turn lead me to have the book be in color (and maybe formatted more like a convention program guide?[2]), though of course that’s getting way ahead of things.

Update (4/30/2013): A conversation with a friend about the game led to kind of an interesting idea. One of the challenges with Beyond Otaku Dreams is helping create something of an anime convention feel even when the players are potentially in a plain, quiet room at someone’s house. Some of the things you can do go a bit outside the scope of the RPG. The Ambiance app provides sound loops for things like a convention hall or manga cafe for example, there’s stuff like having props around (I want to make convention badges, and I’d love to play with someone in full costume), and of course you could just play the game at an anime con. My main idea for helping with that on the game design end is a step just before character creation called “the buzz,” where the group puts together a list of anime titles[3] that everyone in the play group is reasonably familiar with, with the option to put in some made-up ones (say if you just had a memorable game of Channel A?). I think part of the appeal of going to an anime con is entering a special space where your arcane knowledge temporarily becomes shared knowledge, but in my experience even good friends don’t necessarily have quite the same canon of anime series, so I think establishing a baseline for the game will go a long way towards helping players emphasize what they do share. The Buzz should then influence (but not dictate) some elements of characters; if you want your character to be obsessed with a specific anime character, it’ll potentially be more effective to go for one from a series listed in the Buzz. The Buzz will probably also include some elements of the convention itself, like notable guests or events. It would be pretty natural to have a character obsessed with the new anime series Kaiser Bunny Legend[4] and then have the creator of KBL as a guest at the con who plays a role in the story as an NPC.


[1]Specifically “delusion” as a translation of the Japanese word mousou (妄想) as used by otaku, referring to a kind of deliberate, flagrant rejection of reality in favor of self-indulgent fantasies.

[2]Except it would show up on time instead of halfway through the thing. :rimshot:

[3]And other works that fit into the general zeitgeist; putting Idol Master or Homestuck into this list would be fine.

[4]Which is straight from a Channel A playtest, though some day I want to write that story. A group of doujin artists find themselves in a colorful world of magic where imagination has power, so as creative types they find they have all sorts of magical powers. One guy finds his mascot character, a fanservice bunny girl, comes to life. She in turn accidentally takes up the Kaiser Gauntlet, and thus must become the hero who saves the world. With that as a backdrop, the story is really about their relationship and how it changes as she gradually transforms from a fairly shallow character into a complex human being. But anyway.

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Golden Sky Stories Kickstarter

April 23, 2013

I probably should take some time to mention here that the Golden Sky Stories Kickstarter has launched at long last. We’ve been just totally blown away by the level of support we’ve gotten, and while we were confident we would get funded, it’s massively exceeded our expectations, blowing through $18,000 worth of stretch goals in about a day and a half. Or to put it in perspective, we’re neck and neck with Evil Hat’s Fate Dice Kickstarter.[1]

GSS Book Mockup

You can read about GSS in more detail on the Kickstarter page and its updates and comments. Right now we’re in the process of working out additional rewards and stretch goals and some other issues, and we’ll be doing a major update soon. The whole thing’s been really emotional for me–including a hefty, powerful dose of stress if I’m perfectly honest[2]–but also unbelievably gratifying. We worked really hard on this–and we have a good deal more hard work ahead of us–and people are responding far more than we’d dared to hope.

(Also, I just got interviewed for an episode of The Jennisodes, though it’ll be a few weeks before that episode goes live.)


[1]Also well worth your time if you do anything that uses Fudge Dice, though the Fudge Dice Infusion KS is the one that needs some backer love if it’s going to succeed. Also, I think I might be one of the very few people on the planet who actually has too many Fudge dice already, as I have two GM packs from Grey Ghost, the wizard set from Evil Hat, and four red runic Fudge dice from Q-Workshop.

[2]Some time in June or July I’m going to place an order for 2,000+ books. And those books are going to have to go somewhere, and at current count a lot of them are going to have to go to about 700 separate people.

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Tsugihagi Honpo: An Innovator

April 17, 2013

Ryo Kamiya, the designer of Maid RPG and Golden Sky Stories (and a few other games) is one of the major people behind an independent game publishing company called Tsugihagi Honpo.[1] I wanted to take a little time to talk about what they’ve been up to, because they’ve been doing some pretty amazing things that could help expand, improve, and enliven the TRPG scene in Japan.

E-Books
Japan is far behind the West in terms of the adoption of e-books. The patterns of tech adoption by the Japanese tend to be different in really fascinating ways, sometimes cultural and sometimes pragmatic. They can be way ahead of the U.S. (as was the case with cell phones) or oddly far behind (I’ve heard that many Japanese companies still make extensive use of fax machines instead of email). While devices like tablets are hugely popular and the Amazon Kindle is indeed available in Japan, the selection of e-books available for purchase is relatively small. There may be a cultural tendency to prefer physical artifacts over digital downloads, but the real issue is with the publishing industry. Japan is one of the more literate societies on the planet, but traditional publishers are incredibly set in their ways, and have largely refused to seriously consider releasing their properties as e-books. There’s an attitude that piracy isn’t merely a concern, but something to be absolutely avoided at all costs. This is largely true of tabletop RPGs as much as novels, partly I suppose because it’s simply not the standard overall, and partly because a surprising number of TRPG publishers are actually small subsets of large, traditional publishing houses.

On the other hand there is a flourishing doujinshi scene that produces a massive volume of fan works. TRPGs are only a small part of that, but given that the heart of the doujin scene is a convention that attracts about half a million people, that small part still produces a lot of interesting material. There’s even some electronic publishing going on, through sites like DLSite and Melon Books, which is where you’ll find the very few Japanese TRPGs available in PDF form. Tsugihagi has a few available (including the English version of Maid RPG), and there are some other games like Giant Allege and Machine Makers, plus replays and some other material for existing games. More recently, Ken Akamatsu’s site J-Comi started offering some older TRPG material for free.

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Tsugihagi went so far as to make their own PDF reader app for iPad, Narabete Reader, which allows you to view two different PDFs simultaneously. Of course, in their Narabete Reader FAQ they resort to mentioning that PDFs are common for American RPGs, because Japanese RPG PDFs are so hard to come by. Needless to say I’m hoping that TRPG PDFs take off, though that’s partly just because even with the added hoops of buying through a Japanese site, getting files from DLSite is a heck of a lot easier and cheaper than special ordering a book from Japan.

Nechronica Miniatures
3D printing is a technology that has some major implications for tabletop gaming, as it has the potential to massively boost the variety of physical artifacts that people can affordably produce in small numbers. Right now making miniatures is getting more attainable–there have been countless very successful Kickstarters for miniatures games–but it’s still something that involves tens of thousands of dollars. 3D printing has the potential to let projects be on as small a scale as you want. Shapeways is already providing a Lulu-style POD service for 3D-printed objects, but I was rather excited when I found out that Tsugihagi is offering a set of Nechronica miniatures. They’re not cheap, and they have the “fuzzy” look of the current generation of color 3D printing, but it’s also the first instance I know of of a game publisher doing an official 3D printed accessory.

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TRPG Publishing Workshop
Another pretty amazing thing they’re doing is the “Tsugihagi School” workshop. They charge 2800 yen for an all-day program of seminars on desktop publishing and game design. In the U.S. we’ve done plenty of convention panels and podcasts about this kind of thing, and there have been a few convention workshops here and there, but I don’t think I’ve ever heard of anything quite like this. That it’s something viable in a paid workshop format is I suspect in part a result of Japan being much smaller than the U.S. It’s taking place in Saitama, which is part of the Tokyo metropolitan area, and while it’s hardly in everyone’s back yard, a larger portion of the potential audience can get there on the train than would be the case for a similar event in any given U.S. city.

Online Play
Also of interest is how the workshop includes a session solely dedicated to talking about online role-playing. From what I can gather, this is becoming a major trend in Japanese TRPGs. The term オンラインセッション/online session gets shortened to オンセ/onse, and there are dedicated platforms for it, like Dodontof. This is of particular interest for Tsugihagi since one of their games is extremely adult in nature and probably not something a lot of people would want to play face-to-face. Online RPG play isn’t at all unusual in the U.S., but with rare exceptions (like Code of Unaris) it’s very rare for publishers to address it in any meaningful way.[2] Dedicating time and energy to looking at ways to design games that are better for online play is genuinely a really cool thing, and something I hope we’ll see more of.


[1]Which literally translates to something like “Patchwork Book Shop,” but in English they call themselves “PatchWorks.”

[2]I don’t have a lot of experience with playing RPGs online, but it’s definitely something I want to address in my own games.

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D&D 4E’s Influences and Problems

April 1, 2013

WOC2173672_500Strap in, it’s another meandering post about D&D!

When people talk about what influenced 4E, the first thing most people bring up is MMORPGs, especially World of Warcraft. It got turned into a catch phrase by 4E’s haters, and was routinely used without supplying any context that would give you a clue as to why it was a bad thing (or even a thing that mattered one way or the other). That it draws some ideas from MMOs is undeniable, though it’s also pretty clear that they carefully adapted those ideas to the medium at hand, which is why (for example) 4E’s Defenders are very different from a typical MMO Tank role. (They have to be in a game that doesn’t have any kind of aggro mechanic.) Although hardly anyone noticed, another thing that the designers have explicitly said they looked at was European board games, which is where for example a lot of the razor-sharp turn-handling mechanics came from. Mike Mearls and some of the other designers are also sports fans, and a lot of elements of 4E, especially with martial characters, make vastly more sense when you explain them in terms of basketball. Some people will rail about fighter marks being “mind control,” but sports fans seem to instantly grasp what defender marks represent if you explain it in terms of how defense works in basketball. A few times people have also tried to bring GNS theory into the list of influences, good or bad, and while Mearls and company were definitely aware of Forge theory and such, the rigor and focus of the design had so many other sources that I think it could have easily come about if the same team had never once heard of the Forge.

The one huge, glaring thing that routinely gets left out of discussions of 4E’s influences is D&D 3.5. Late in 3.5′s life people were exploring the limits of the system in ways they hadn’t quite done before. This was when terms like CoDzilla and Pun-Pun became widely known, and the D&D team, being the foremost group of people who were working on D&D as their actual profession full time, had to be listening to what the fanbase was saying. Not listening was one of 90s TSR’s biggest mistakes after all, and WotC launched their D&D venture with the aim of paying attention to what their fans wanted. 4E’s downright obsessive focus on game balance is clearly a reaction to the massive imbalances that character optimizers were able to unearth in 3.5. Charop still exists in 4E, but it’s nowhere close to the same level, and more importantly outside of extreme charop the difference in performance between a suboptimal and optimal character isn’t so massive as to totally obviate the suboptimal character. As someone with limited experience with 3.x and very extensive experience with 4E, whenever I looked through 3.5 books I was always struck by just how much wound up being familiar. The differences are considerable and important, but 4E is nonetheless a game that could only have come from people totally submerged in D&D 3.5 and the fandom around it. 4E is the game for which the Tome of Battle and Star Wars Saga Edition were intermediate steps, and which compared to any non-D&D game is pretty obviously an offshoot of the lineage that 3rd Edition started. To me it’s a reminder of the level of myopia that focusing too much on D&D alone can cause us.
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Channel A is Funded!

March 31, 2013

BF-w7lCCEAAHVT2It would be a bit much to try to make some kind of Easter metaphor, but some time within the final 24 hours of the Kickstarter, Channel A hit its funding goal of $10,000. It wasn’t looking good for a while there, but things really turned around when the creator of Superfight!, another promising party game (there wound up being like four party games kickstarted at the same time), was kind enough to give a shout-out to Channel A to his 1,200+ backers. It’s normal for a Kickstarter to lag in the middle and pick up towards the end, but the difference before and after that Superfight! update is night and day, so that game’s team has my gratitude. That Asmadi Games added some new reward levels with some promotional items and such from their prior titles definitely helped us ride off of that boost, as did some targeted promotion.

I’m really grateful to everyone who made it happen. To everyone who pledged, to the people around the world who pledged despite paying insane amounts for shipping, to all the friends and family who pledged to support me, to all the friends who helped playtest the game and make it as good as it is, to Chris Cieslik for publishing and believing in the game in the first place, to Mike Stevens (my RPG publishing partner in crime) who did such a great job demoing it, to Clay for making the game look just gorgeous, to Dawn for providing great art and signing up to do even more for our Director’s Pack backers, to everyone who helped spread the word on Twitter/Tumblr/Facebook/G+/forums/blogs/etc., and I’m sure I’m leaving someone out but you get the idea.

finishedSome people pledged simply because they came across a game that they felt they’d enjoy. Some people because they’ve enjoyed Asmadi Games’ other offerings. Some were my friends and family and other people supporting the game on general principle even if they might not play it much. A few people said they were fans of my work, which to me is the most amazing thing. I’ve been making and posting gaming stuff for ages now, and it seems like I’m finally hitting critical mass and getting somewhere. I mean, I made a game that got over $10,000 in Kickstarter pledges, and there were actually a few people to whom my weirdly pronounced name was a selling point. I can’t even wrap my head around that, and I guess mostly I’m just glad people are enjoying this stuff I make.

Of course, this is an important milestone for Channel A, but it’s more a beginning than anything. Chris is aiming to have the first production run of the game ready in time to sell at Anime Boston (and if things work out I may be able to sell it at FanimeCon, which is that same weekend), which will mark the beginning of the convention season, during which Asmadi Games will be aggressively promoting the game. It’ll also be going into retail distribution, so I’m looking forward to seeing it show up at local game stores. And of course there’s the matter of getting into working on expansions, for which I already have far too many ideas.

With this, and the Yaruki Zero book, and the Golden Sky Stories Kickstarter coming up terrifyingly fast, I think I’m going to remember 2013 as the year that all my messing around with making games finally bore fruit, the year things really began.

Thank you, everyone. :)

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